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Alberto Carlieri (Roma 1672 - 1720 circa)
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Milan, Italy
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Alberto Carlieri (Roma 1672 - 1720 circa)Capriccio con figure Olio su tela133 x 99 cmL'opera evidenzia la prima maturità del Carlieri quando, dopo aver lasciato la collaborazione con Andrea Pozzo, attinse dalla lezione di Giovanni Ghisolfi, da qui le fredde cromie dei marmi e la solfurea atmosfera, dall'enigmatico maestro dal monogramma GAE, sicuramente prossimo a Salvator Rosa, da qui l'esigua presenza architettonica. Peculiari a Carlieri appaiono le figure orientali risolte con pittura compendiaria e la ricercata realizzazione maculata delle colonne ad imitazione del marmo. Infine la caratteristica propensione di inserire in un secondo piano architettonico degli elementi di fabbrica circolari o semi circolari. Si veda, tra le varie opere citabili, per attinenza con le tele qui presentate le foto 48b e 65 a in Il Capriccio architettonico in Italia nel XVII e XVIII secolo, a cura di Giancarlo Sestieri. Alberto Carlieri studiò la pittura rovinista con Giuseppe de Marchis. In seguito frequentò Andrea Pozzo, del quale divenne allievo e collaboratore. Da quest’ultimo apprese la ricchezza espositiva caratterizzata dall’architettura e dall’impianto del disegno, con la capacità di ravvivare le composizioni con scene aneddotiche. Dal punto di vista coloristico, sono peculiari sia il gioco di luce tra le architetture sia il contrasto chiaroscurale. Grazie alle ombre contrapposte a colori smaltati delle parti in luce, le sue opere si connotano per la brillante e posata eleganza. L’impostazione frontale delle sue architetture talvolta ricorda i lavori di Viviano Codazzi e Giovanni Ghisolfi, sebbene per Carlieri le rovine siano più una quinta utile per architettare gli spazi e gli effetti luminosi piuttosto che il tema portante della sua pittura. La sua arte e quella di Alessandro Salucci sono inoltre l’incipit per il più grande pittore di architetture e rovine, ovvero Gian Paolo Panini.Alberto Carlieri (Rome 1672 - ca. 1720)Capriccio with Figures Oil on canvas133 x 99 cmThe artwork shows Carlieri's early maturity when, after leaving his collaboration with Andrea Pozzo, he drew on the lesson of Giovanni Ghisolfi, hence the cold colours of the marble and the sulphurous atmosphere, from the enigmatic master with the monogram GAE, certainly close to Salvator Rosa, hence the sparse architectural presence. Peculiar to Carlieri appear the oriental figures resolved with compendiary painting and the refined spotted realisation of the columns in imitation of marble. Finally, the characteristic propensity to insert circular or semi-circular building elements in a second architectural plan. See, among the various artworks that can be cited, for relevance to the paintings presented here, photos 48b and 65 an in Il Capriccio architettonico in Italia nel XVII e XVIII secolo, edited by Giancarlo Sestieri.
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Alberto Carlieri (Roma 1672 - 1720 circa)Capriccio con figure Olio su tela133 x 99 cmL'opera evidenzia la prima maturità del Carlieri quando, dopo aver lasciato la collaborazione con Andrea Pozzo, attinse dalla lezione di Giovanni Ghisolfi, da qui le fredde cromie dei marmi e la solfurea atmosfera, dall'enigmatico maestro dal monogramma GAE, sicuramente prossimo a Salvator Rosa, da qui l'esigua presenza architettonica. Peculiari a Carlieri appaiono le figure orientali risolte con pittura compendiaria e la ricercata realizzazione maculata delle colonne ad imitazione del marmo. Infine la caratteristica propensione di inserire in un secondo piano architettonico degli elementi di fabbrica circolari o semi circolari. Si veda, tra le varie opere citabili, per attinenza con le tele qui presentate le foto 48b e 65 a in Il Capriccio architettonico in Italia nel XVII e XVIII secolo, a cura di Giancarlo Sestieri. Alberto Carlieri studiò la pittura rovinista con Giuseppe de Marchis. In seguito frequentò Andrea Pozzo, del quale divenne allievo e collaboratore. Da quest’ultimo apprese la ricchezza espositiva caratterizzata dall’architettura e dall’impianto del disegno, con la capacità di ravvivare le composizioni con scene aneddotiche. Dal punto di vista coloristico, sono peculiari sia il gioco di luce tra le architetture sia il contrasto chiaroscurale. Grazie alle ombre contrapposte a colori smaltati delle parti in luce, le sue opere si connotano per la brillante e posata eleganza. L’impostazione frontale delle sue architetture talvolta ricorda i lavori di Viviano Codazzi e Giovanni Ghisolfi, sebbene per Carlieri le rovine siano più una quinta utile per architettare gli spazi e gli effetti luminosi piuttosto che il tema portante della sua pittura. La sua arte e quella di Alessandro Salucci sono inoltre l’incipit per il più grande pittore di architetture e rovine, ovvero Gian Paolo Panini.Alberto Carlieri (Rome 1672 - ca. 1720)Capriccio with Figures Oil on canvas133 x 99 cmThe artwork shows Carlieri's early maturity when, after leaving his collaboration with Andrea Pozzo, he drew on the lesson of Giovanni Ghisolfi, hence the cold colours of the marble and the sulphurous atmosphere, from the enigmatic master with the monogram GAE, certainly close to Salvator Rosa, hence the sparse architectural presence. Peculiar to Carlieri appear the oriental figures resolved with compendiary painting and the refined spotted realisation of the columns in imitation of marble. Finally, the characteristic propensity to insert circular or semi-circular building elements in a second architectural plan. See, among the various artworks that can be cited, for relevance to the paintings presented here, photos 48b and 65 an in Il Capriccio architettonico in Italia nel XVII e XVIII secolo, edited by Giancarlo Sestieri.
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